DOCSLIB.ORG

News Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
News Release News Release FOR IMMEDIATE RELEASE PRESS CONTACT: Ben Randle, Artistic Associate ~ 415.694.6156 ~ [email protected] PHOTOS & PRESS KIT NEW CONSERVATORY THEATRE CENTER PRESENTS WEST COAST PREMIERE OF REIMAGINED ON A CLEAR DAY YOU CAN SEE FOREVER NEW VIEW OF CLASSIC MUSICAL TO BE DIRECTED BY NCTC FOUNDER & ARTISTIC DIRECTOR ED DECKER San Francisco, CA (April 7, 2016) – New Conservatory Theatre Center crowns its 2015-16 season with the West Coast premiere of a whimsical reimagining of On a Clear Day You Can See Forever, the classic American musical featuring music by Burton Lane, lyrics by Alan Jay Lerner, and a new book by Peter Parnell, based on the original book by Lerner. This mesmerizing and enchanting new look at the classic musical is just your typical musical comedy – about hypnosis, a gay florist with commitment issues, a love triangle with a therapist, and past life as a 1940s chanteuse. On a Clear Day You Can See Forever runs May 13 – June 12, 2016. Opening Night is Saturday, May 21, 2016 at 8pm. Tickets are $30–50 and available at nctcsf.org or by calling (415) 861-8972. Directing the West Coast premiere is NCTC Founder & Artistic Director Ed Decker, with music direction by Matthew Lee Cannon, choreography by Jayne Zaban, and instrument arrangements by Ben Prince. On a Clear Day is the rare original musical that is not based on source material. It broke ground by dealing with paranormal and supernatural experience — past lives, reincarnation, ESP and the seemingly limitless power of the mind. The musical originally opened on Broadway in 1965, starring Barbara Harris as a chain smoker who can hear phones before they ring and make flowers grow before your eyes. This new version of On a Clear Day was developed at The Vineyard Theatre in New York, and as part of New York Stage and Film and Vassar's Powerhouse Theater, and ultimately running unsuccessfully run on Broadway under the direction of Michael Mayer and starring Harry Connick, Jr. Parnell’s new book replaces Daisy with David, a gay florist whose psychiatrist, widower Dr. Mark Bruckner, discovers that David's past life was as Melinda, a 1940s jazz singer. The “bewitching, beguiling” Ed Decker Barbara Hodgen ARTISTIC DIRECTOR EXECUTIVE DIRECTOR score (World-Telegram & Sun) includes the songs “Come Back To Me,” “What Did I Have That I Don't Have Now?” and the popular title song. Complementing the new book, the beloved score will feature additional songs from the 1970 film version starring Barbra Streisand, as well as tunes from Lerner and Lane's Royal Wedding, a 1951 movie musical with Fred Astaire. In addition, NCTC has commissioned new arrangements by acclaimed musical supervisor Ben Prince. Composer Burton Lane is best known for his Broadway musicals, Finian's Rainbow (1947) and On a Clear Day You Can See Forever (1965). He also wrote the music for the Broadway shows Hold On to Your Hats (1940), Laffing Room Only (1944), and Carmelina (1979), the latter with lyrics by Alan Jay Lerner, who had also written lyrics to Lane's music for On a Clear Day and the film Royal Wedding (1951). Lane mainly wrote music for films, such as Dancing Lady, Babes on Broadway, and more than 30 movies. Lyricist and Original Librettist Alan Jay Lerner was a Broadway legend. As a collaborator with composer Frederic Loewe, his wrote include Brigadoon (1947), Paint Your Wagon (1951), My Fair Lady (1956), and Camelot (1960); with Burton Lane, he wrote the movie musical Royal Wedding, in addition to On a Clear Day. Lerner also wrote a series of musicals with such esteemed composers as Kurt Weill, Andre Previn, Leonard Bernstein and Charles Strouse. For his An American in Paris screenplay, he won as Academy Award. In 1978 he published an autobiography, The Street Where I Live. Librettist Peter Parnell’s playwrighting credits include QED (Lincoln Center Theater and Mark Taper Forum), The Hunchback of Notre Dame (Disney Theatrical Group), Trumpery (Atlantic), a two-part stage adaptation of John Irving’s The Cider House Rules (American Theatre Critics Association Award; Seattle Rep, Mark Taper Forum, Atlantic), Sorrows of Stephen, The Rise and Rise of Daniel Rocket, Romance Language, Hyde in Hollywood, Flaubert’s Latest, and An Imaginary Life (The Public, Playwrights Horizons). Parnell is also the Vice President of The Dramatists Guild. He was the co-author with Justin Richardson of the award-winning children’s book And Tango Makes Three. He has written extensively for television as a producer for both The West Wing and The Guardian; he has also written episodes of Maurice Sendak’s series Little Bear. The cast of On a Clear Day… features Jessica Coker, William Giammona, Chris Morrell, Melissa O’Keefe, and Kevin Singer, with Scott Ayres, Audrey Baker, Megan Bartlett, Stephen Kanaski, Christine Macomber, Zac Schuman, and Pamela Sevilla. The creative team of On a Clear Day… includes scenic design by Kuo-Hao Lo, costume design by Wes Crain, lighting design by Christian V. Mejia, sound design by James Ard, prop design by Noah Kramer. New Conservatory Theatre Center has been San Francisco’s premier LGBTQIA and allied performing arts institution and progressive arts education conservatory since 1981. NCTC is renowned for its diverse range of innovative, high-quality productions, touring productions and shows for young audiences; its Ed Decker Barbara Hodgen ARTISTIC DIRECTOR EXECUTIVE DIRECTOR foundational anti-bullying work with youth and educators through YouthAware; and its commitment to nurturing emerging artists and playwrights to expand the canon of queer and allied dramatic work. ### On a Clear Day You Can See Forever FACT SHEET WHO: Music by Burton Lane Lyrics and Alan Jay Lerner New Book by Peter Parnell Based on the original book by Alan Jay Lerner Directed by Ed Decker Musical Direction by Matthew Lee Cannon Instrument Arrangements by Ben Prince Choreography by Jayne Zaban Featuring Jessica Coker, Will Giammona, Chris Morrell, Melissa O’Keefe, Kevin Singer, with Scott Ayres, Audrey Baker, Megan Bartlett, Stephen Kanaski, Christine Macomber, Zac Schuman, and Pamela Sevilla. Scenic design by Kuo-Hao Lo Costume Design by Wes Crain Lighting Design by Christian V. Mejia Sound Design by James Ard Prop Design by Noah Kramer WHAT: West Coast Premiere of On a Clear Day You Can See Forever WHERE: New Conservatory Theatre Center Decker Theater, 25 Van Ness Ave @ Market St, San Francisco, CA 94102 WHEN: May 13 – June 12, 2016 Wednesdays – Saturdays at 8pm, Sundays at 2pm Opening Night: Saturday, May 21, 2016 at 8pm COST: $30-50 Ed Decker Barbara Hodgen ARTISTIC DIRECTOR EXECUTIVE DIRECTOR TICKETS AND BOX OFFICE: 415-861-8972, [email protected] PHOTOS & PRESS KIT Ed Decker Barbara Hodgen ARTISTIC DIRECTOR EXECUTIVE DIRECTOR .
Load more

Recommended publications
  • Colonial Concert Series Featuring Broadway Favorites
    Amy Moorby Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For Immediate Release, Please: Berkshire Theatre Group Presents Colonial Concert Series: Featuring Broadway Favorites Kelli O’Hara In-Person in the Berkshires Tony Award-Winner for The King and I Norm Lewis: In Concert Tony Award Nominee for The Gershwins’ Porgy & Bess Carolee Carmello: My Outside Voice Three-Time Tony Award Nominee for Scandalous, Lestat, Parade Krysta Rodriguez: In Concert Broadway Actor and Star of Netflix’s Halston Stephanie J. Block: Returning Home Tony Award-Winner for The Cher Show Kate Baldwin & Graham Rowat: Dressed Up Again Two-Time Tony Award Nominee for Finian’s Rainbow, Hello, Dolly! & Broadway and Television Actor An Evening With Rachel Bay Jones Tony, Grammy and Emmy Award-Winner for Dear Evan Hansen Click Here To Download Press Photos Pittsfield, MA - The Colonial Concert Series: Featuring Broadway Favorites will captivate audiences throughout the summer with evenings of unforgettable performances by a blockbuster lineup of Broadway talent. Concerts by Tony Award-winner Kelli O’Hara; Tony Award nominee Norm Lewis; three-time Tony Award nominee Carolee Carmello; stage and screen actor Krysta Rodriguez; Tony Award-winner Stephanie J. Block; two-time Tony Award nominee Kate Baldwin and Broadway and television actor Graham Rowat; and Tony Award-winner Rachel Bay Jones will be presented under The Big Tent outside at The Colonial Theatre in Pittsfield, MA. Kate Maguire says, “These intimate evenings of song will be enchanting under the Big Tent at the Colonial in Pittsfield.
    [Show full text]
  • The 2009 Lotte Lenya Competition First Round
    The 2009 Lotte Lenya Competition Lauren Worsham’s recent credits include Sophie in Master Class (Pa- permill Playhouse), Clara in The Light in the Piazza (Chamber Version - Kilbourn Hall, Eastman School of Music Weston Playhouse), Cunegonde in Candide (New York City Opera), Jerry Springer: The Opera (Carnegie Hall), Olive in The 25th Annual Putnam Saturday, 18 April 2009 County Spelling Bee (First National Tour). New York workshops/readings: Mermaid in a Jar, Le Fou at New Georges, The Chemist's Wife at Tisch, Mir- ror, Mirror at Playwright's Horizons, and Now I Ask You at Provincetown First Round Playhouse. Graduate of Yale University, 2005. Thanks for all the love and support from Bryan and Management 101. Most importantly, I owe it all to my amazing family. Proud member AEA! www.laurenworsham.com The Kurt Weill Foundation for Music, Inc. administers, promotes, and perpetuates the legacies of Kurt Weill and Lotte Lenya. It encourages broad dissemination and appreciation of Weill’s music through support of performances, productions, recordings, and scholarship; it fosters understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts; and, building upon the legacies of both, it nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Established in 1998 by the Kurt Weill Foundation for Music, the Lotte Lenya Competition provides a unique opportunity for talented young singer/actors to show their versatility in musical theater repertoire ranging from opera/operetta to contemporary Broadway, with Competition Administration, for the Kurt Weill Foundation: a focus on the varied works of Kurt Weill.
    [Show full text]
  • Read Book Just for the Record
    JUST FOR THE RECORD PDF, EPUB, EBOOK Geri Halliwell | 320 pages | 01 Nov 2003 | Ebury Publishing | 9780091888046 | English | London, United Kingdom Just For The Record PDF Book Jeff Randall Kenneth Cope When the Sun Comes Out. Pargiter Olivia Hamnett Ager Arlen Koehler Yellen. Barbra Streisand feat: Don Rickles. The Barbra Streisand Album , Marty Hopkirk Annette Andre Stoney End , Movies I have seen. Liner notes. Energetic Happy Hypnotic. DeSylva Lew Brown. Andre Mallot James Forrest Back to Broadway Halloween Movies for the Whole Family. Miss Marmelstein Harold Rome. Browne ultimately awarded the collection a grade of A- and called it a good representation of the singer's ability to "chang[e the] definition of pop" and "make mainstream adult pop that was strong, elegant, [and] even passionate". Another common usage of the idiom involves clarifying a person's motivation for saying something or engaging in a particular action. Rainy Day Relaxation Road Trip. Barbra Streisand feat: Judy Garland. The Broadway Album , Don't Rain on My Parade. Title: Just for the Record 15 Jan The Best Horror Movies on Netflix. Alternately, someone may use it to explain why he did something that appeared particularly unintelligent. I Can Do It. Other tracks were compiled from various live performances, TV specials, and previous albums from her back catalog. Warm All Over Frank Loesser. Lost Inside of You. My Honey's Lovin' Arms. Lorenz Hart Richard Rodgers. It includes 24 of the songs from Just for the Record The Moon and I. You're the Top Cole Porter. Cryin' Time. Add the first question.
    [Show full text]
  • A Shavian Affair in Understanding Femininity in a Man's World
    “Mircea cel Batran” Naval Academy Scientific Bulletin, Volume XVI – 2013 – Issue 2 Published by “Mircea cel Batran” Naval Academy Press, Constanta, Romania A SHAVIAN AFFAIR IN UNDERSTANDING FEMININITY IN A MAN’S WORLD Alina Nicoleta VLAD1 Abstract: Topics regarding “the war of sexes”, “gender stereotypes”, “men and women”, “patriarchal or matriarchal”, “equal rights” are generating, still, a lot of powerful feelings on both sides of men and women “parties”. Thus, this paper has as central point of analysis the concepts of “femininity” and “feminism” as they are found in literature and films, to be more specific in the play: Pygmalion by George Bernard Shaw and the Hollywood productions of My Fair Lady, underlining the needs of the audience for a “happy - ending”. A happy – end that was not envisioned nor wanted by Bernard Shaw as he clearly explained in the sequel for Pygmalion, the version from 1941. Key-words: Feminism, Femininity, Myth, Pygmalion, gender stereotypes, equal rights, happy – end. General Perspective on Femininity and Feminism MOTTO: As a woman, I have no country. As a woman, I want no country. As a woman, my country is my world. Virginia Woolf (1882–1941) Looking for the definition of “femininity” in the figure in the literary history or Germaine de Staël (1766– Oxford Dictionary, the term is explained as follows: 1817). • having qualities or an appearance traditionally A moment of importance in the culture of associated with women, Feminism is the French Revolution and the struggles of the • especially delicacy and prettiness. bourgeois European women for education and their civic Moving on to the Longman Dictionary Of rights.
    [Show full text]
  • Frederick Loewe Collection [Finding Aid]. Library of Congress. [PDF
    Frederick Loewe Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2004 Revised 2017 June Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu012019 LC Online Catalog record: http://lccn.loc.gov/2012563808 Processed by the Music Division of the Library of Congress Collection Summary Title: Frederick Loewe Collection Span Dates: 1923-1988 Bulk Dates: (bulk 1945-1975) Call No.: ML31.L58 Creator: Frederick Loewe, 1901-1988 Extent: 1,000 items ; 13 containers ; 5 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Frederick Loewe was a German-born composer who wrote, with lyricist Alan Jay Lerner, the scores for such musicals as My Fair Lady, Camelot, Gigi, and Brigadoon. The collection contains music manuscripts from Loewe's stage and screen musicals, as well as individual songs not associated with a particular show. In addition, the collection contains photographs, a small amount of correspondence, clippings, business papers, writings, and programs. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Lerner, Alan Jay, 1918-1986. Lerner, Alan Jay, 1918-1986. Loewe, Frederick, 1901-1988--Correspondence. Loewe, Frederick, 1901-1988--Manuscripts. Loewe, Frederick, 1901-1988--Photographs. Loewe, Frederick, 1901-1988. Loewe, Frederick, 1901-1988.
    [Show full text]
  • My Fair Lady": a Comparison of the Vision of Two Authors and What Each Play Says to Women
    UNLV Retrospective Theses & Dissertations 1-1-1999 "Pygmalion" vs "My Fair Lady": A comparison of the vision of two authors and what each play says to women Jessica Lynn Raymer University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Raymer, Jessica Lynn, ""Pygmalion" vs "My Fair Lady": A comparison of the vision of two authors and what each play says to women" (1999). UNLV Retrospective Theses & Dissertations. 980. http://dx.doi.org/10.25669/fa7r-6qdw This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.
    [Show full text]
  • I Was a Teenage Negro! Blackface As a Vehicle of White Liberalism in Finian's Rainbow
    I Was a Teenage Negro! Blackface as a Vehicle of White Liberalism in Finian's Rainbow Russell Peterson Obviously we hope you will enjoy your evening with us, but before the curtain goes up we would like to forewarn you about what you will see. Finian s Rainbow is a joyous musical cel­ ebrating life, love, and the magic that lives in each of us, but it is also something more. Produced in 1947, it was one of the American theater's first attempts to challenge racism and big­ otry. With the two-edged sword of ridicule and laughter it punctured the stereotypes that corrupted America. In doing so it created something of a stereotype itself. If it seems at times that our cast makes fun of racial or social groups, it is only that we wish to expose and deride the bigotry that still would gain a hearing in our hearts. —program note from Edison Jun­ ior High School's (Sioux Falls, SD) 1974 production of Finian's Rainbow I might as well confess right up front that this article's title is a bit of a tease. While I did play a sharecropper in Edison Junior High's 1974 production of Finian s Rainbow, I was as white onstage as I was (and am) off. In this case, however, color-coordination of actor and role was less a matter of race-appro­ priate casting than of directorial whim. Allow me to explain. 0026-3079/2006/4703/4-035$2.50/0 American Studies, 47:3/4 (Fall-Winter 2006): 35-60 35 36 Russell Peterson Finian was a big Broadway hit in 1947.
    [Show full text]
  • Camelot Musical Notes.Pdf
    GOODSPEED MUSICALS Teachers’ Instructional Guide A Guide to the Goodspeed Musicals production of Musical Notes is made possible through the generosity of: The Max Showalter Center for Education in the Musical Theater presents Book and Lyrics by ALAN JAY LErNEr Music by FrEdErICK LOEWE with BrANdON ANdrUS rONN CArrOLL CHArLES EvErETT CrOCCO ErIN dAvIE MAXIME de TOLEdO BrAdLEY dEAN MICHAEL dELEGET MATT FAUCHEr STEvE FrENCH ANdrEW HUBACHEr MArISSA McGOWAN rACHEL ALEXA NOrMAN SHAWN PENNINGTON HErMAN PETrAS rEBECCA PITCHEr rACHEL rINCIONE AMANdA SALvATOrE AdAM SHONKWILEr ALLAN SNYdEr BEN SWIMMEr MATTHEW C. THOMPSON MOLLIE vOGT-WELCH Scenery Design by Costume Design by Lighting Design by MICHAEL SCHWEIKArdT ALEJO vIETTI JOHN LASITEr Sound by Hair & Wig Design by JAY HILTON CHArLES LaPOINTE Orchestrations by Assistant Music Director dAN deLANGE F. WAdE rUSSO Production Manager Production Stage Manager Casting by r. GLEN GrUSMArK BrAdLEY G. SPACHMAN STUArT HOWArd, AMY SCHECTEr, & PAUL HArdT, CSA Associate Producer Line Producer BOB ALWINE dONNA LYNN COOPEr HILTON Music Director MICHAEL O’FLAHErTY Choreographed by rALPH PErKINS Directed by rOB rUGGIErO Produced for Goodspeed Musicals by MICHAEL P. PrICE First Performance: July 10, 2009 Goodspeed Musicals is dedicated to the heritage of the musical and the development of new works to add to the repertoire. Marquee Sponsors: LUCILLE ANd dAvE vIOLA, Sr. Sponsored by: 4 GOODSPEED MUSICALS | 2009 SEASON GOODSPEED MUSICALS | 2009 SEASON 5 Cast of Characters Musical Numbers (In order of appearance) Synopsis
    [Show full text]
  • The Inventory of the Fred Astaire Collection #767
    The Inventory of the Fred Astaire Collection #767 Howard Gotlieb Archival Research Center /' Astaire, Fred July, 1980 #767 I. SCRAPBOOKS (All include tearsheets and newsclippings of advertisements; reviews and related stories; newsclippings on Adele Astaire, then Lady Charles Cavendish, and correspondence, Most printed items from U,S, newspaperst some English and AustralianJ Package //1 A. Black leather scrapbook: "Flying Down to Rio" and "Dancing Lady" 1933 0 7 telegrams, 1 TLS incl,: Berman, Pandro telegram Dec, 8, 1933 Brock, Louis (screenwriter) 2 telegrams Nov, 28, Dec. 23, 1933 TLS Nov, 13, 1933 Hayward, Leland (agent, producer) 2 telegrams Nov. 10, Dec. 29, 1933 "Hollywood on the Air". Mimeo typescript. Nov. 4, 1933. 16 p. Schwartz, Arthur (producer, composer) telegram Dec. 25, 1933 Package /12 B. Black scrapbook with tan leather spine: "Follow the Fleet" 1936 Package #3 C. Black leather scrapbook: "Gay Divorce" 1932-1933 (stage production) includes publicity clippings, reviews, photos of theatres (Wilbur in Boston and Ethel Barrymore in New York), box office statement, sheet music, playbills, Theatre World magazine December, 1933, news- clippings on FA's marriage and correspondence. 21 telegrams, 6 TLS, 2 CTL, 1 ALS, incl.: Astaire, Ann (mother) telegram July 13, 1933 Dietz, Howard (librettist) telegram July 12, 1933 Ephraim, Lee 12 telegrams ~fuy 3, May 11, May 23, May 29, May 31, June 3, June 6, June 10, June 19, June 27, July 4, July 11, 1933 5 TLS April 18, May 2, May 12, June 1, June 10, 1933 Fred Astaire Page 2 Package /13 c. "Gay Divorce" 1932-1933 correspondence (cont.) Ephraim, Lee To Claire Luce telegram May 26, 1933 FA to Lee Ephraim CTL May 18, 1933 with Luce, Claire CTL to Fred Astaire May 16, 1933 Hayward, Leland telegram May 18, 1933 Po~ter, Linda (Mrs.
    [Show full text]
  • BTW.C.Schedule2017(MH Edit)
    Broadway Teachers Workshop C 2017 Schedule (*subject to change) Thursday, July 13, 2017 Today’s workshops are held at The Sheen Center; 18 Bleecker Street, New York, NY 10012 9:15 a.m. – 10:00 a.m. Registration/ Welcome/ Meet and Greet Your Peers 10:00 a.m. – 11:30 a.m. Opening Session: Creativity and Connection: with Susan Blackwell ([title of show]) In this fun, festive welcome session, Susan Blackwell kicks off your Broadway Teachers Workshop with a bang! This year's theme is CREATIVITY and--as always--the discussion will be spirited, the ideas shared will be inspiring, and the connections made will lay the foundation for a warm, wonderful BTW adventure! Susan Blackwell is on a mission to free people’s creativity and self-expression. She champions this cause as a performer, writer, educator and business consultant. She played a character based on herself in the original Broadway musical [title of show} and the Off-Broadway musical Now. Here. This. She created and hosts the freewheeling chat show ‘Side by Side by Susan Blackwell’ on Broadway.com. As the founder of Susan Blackwell & Co., she partners with like-minded compassionate artists and thought leaders to deliver inspiring entertainment and educational offerings aimed at freeing people’s creativity and self-expression. 11:45 a.m. – 1:00 p.m. A.) EXPLORING FRANK LOESSER: A concert and class with Broadway Music Director David Loud Join Broadway Music Director David Loud (Scottsboro Boys, Curtains, The Visit) in another of his delightful inquiries into the songs of our greatest theatre composers.
    [Show full text]
  • LOVE LIFE Your Personal Guide to the Production
    NEW YORK CITY CENTER EDUCATION MARCH 2020 BEHIND THE CURTAIN: Wiseman Art by Ben ENCORES! LOVE LIFE Your personal guide to the production. TABLE OF CONTENTS CONTEXT 2 A Note from Jack Viertel, Encores! Artistic Director 3 Meet the Creative Team 4 Meet the Cast 5 An Interview with Costume Designer Tracy Christensen 7 Love Life in the 21st Century by Rob Berman and Victoria Clark RESOURCES & ACTIVITIES 10 Before the Show 11 Intermission Activity 13 After the Show 14 Glossary 15 Up Next for City Center Education CONTEXT Selecting shows for Encores! has always been a wonderfully A NOTE FROM enjoyable but informal process, in which Rob Berman, our Music Director and I toss around ideas and titles until we feel like we’ve achieved as perfect a mix as possible: three shows that we are as eager to see as we are to produce, and three JACK that are nothing alike. This year was different only in that we were joined by Lear deBessonet, who will begin her tenure as my successor next season. That only made it more fun, and VIERTEL, we proceeded as if it were any other season. ENCORES! Although we never considered the season a “themed” one— it turned out to have a theme: worlds in transition. And I ARTISTIC suppose my world, and maybe the world of Encores! itself are DIRECTOR about to change too—so it seems appropriate. Love Life is a case in point. Produced in 1948, it is Alan Jay Lerner and Kurt Weill’s only collaboration (they had tremendous success in other collaborations, including My Fair Lady and The Threepenny Opera).
    [Show full text]
  • Historical Theater Programs Collection MS-87 Wright State
    Historical Theater Programs Collection (MS-87) Guide This finding aid was produced using ArchivesSpace on September 21, 2021. Description is written in: English. Describing Archives: A Content Standard Wright State University Libraries, Special Collections and Archives Special Collections and Archives 3640 Colonel Glenn Hwy Dayton, OH 45435-0001 [email protected] URL: http://www.libraries.wright.edu/special Historical Theater Programs Collection (MS-87) Guide Table of Contents Summary Information .................................................................................................................. 3 Scope and Contents ...................................................................................................................... 3 Arrangement ............................................................... .................................................................. 3 Administrative Information .......................................................................................................... 4 Collection Inventory ............................................................... ...................................................... 4 Series 1: Plays and Musicals ............................................................... ....................................... 4 Series 2: Animal Shows & Races ............................................................................................. 29 Series 3: Concerts ............................................................... .....................................................
    [Show full text]